Posted in Radio on December 23rd, 2022 by JJ Koczan
I wish I could say I planned it out ahead of time that the 100th episode of The Obelisk Show would coincide with both the final one of 2022 and the third of the three roundups of some of the year’s best in heavy, but I’m nowhere near that coordinated. Fortunate happenstance, then, and a killer show either way.
You might note the minor departure from the general format I use in that this one doesn’t end with an extended track. Fact is there was just more I wanted to include than there was room for, so I opted to pack in three or four shorter songs where there might otherwise be one. Nothing here tops 10 minutes long — CB3 is just over eight and that’s the longest — and I can’t remember the last time that happened.
Before I turn you over to the playlist itself, I’d like to extend my sincere thanks to Gimme Metal for allowing me to continue to do this show. Seems obvious to say, considering, you know, this site in general, but sharing music I dig is among my favorite things to do, and I value the opportunity to engage with Gimme’s audience as a part of that. Thank you to Tyler, Brian, Dean and the entire crew for having me and making this thing happen.
Thanks for listening if you do, thanks for reading if you are.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.
Full playlist:
The Obelisk Show – 12.23.22 (VT = voice track)
Church of the Cosmic Skull
Now’s the Time
There is No Time
All Souls
I Dream
Ghosts Among Us
Sasquatch
Live Snakes
Fever Fantasy
Sky Pig
Larva
It Thrives in Darkness
VT
Abronia
Night Hoarders
Map of Dawn
Ealdor Bealu
Way of the Sudden Storm
Psychic Forms
Valley of the Sun
Images
The Chariot
Nebula
Highwired
Transmission From Mothership Earth
Supersonic Blues
They See Me Comin’
It’s Heavy
Les Nadie
Del Pombero
Destierro y Siembra
Sun Voyager
Rip the Sky
Sun Voyager
Besvärjelsen
House of the Burning Light
Atlas
VT
Dreadnought
Midnight Moon
The Endless
Author & Punisher
Misery
Krüller
Messa
Dark Horse
Close
Somali Yacht Club
Silver
The Space
Lamp of the Universe
Emerald Sands
The Akashic Field
Toad Venom
Swirling Hands
EAT!
CB3
To Space and Away
Exploration
VT
Ecstatic Vision
The Kenzo Shake
Elusive Mojo
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Jan. 6 (subject to change). Thanks for listening if you do.
A lot going on as the festival and its many volunteers — designated by crew shirts from various years — get ready for the first full day. First band is on in about 70 minutes.
I crashed out hard last night after a vigorous round of nesting — pillows here, water bottle there, white noise on, window open to let cool air in, book loaded on tablet so I could look at words for about seven seconds before falling asleep, etc. — and woke up with the alarm at 10AM, which is only ironic because that’s 4AM at home and I might be up then on any given day anyhow. What jetlag?
Hydrated. Took ibuprofen, drank three cups of drip coffee and some assemblage of espressos — two doubles and then some — ate a protein bar and got my head right before coming back here. DVNE growling through soundcheck right now is hilarious. Not everyone can do that without music behind. Now singing clean in French. Chuckles from those lounging nearby.
The sun is out and there’s more of a breeze so far, though it will get warmer over the next couple hours. It doesn’t matter though. FVF provides places to be, whether it’s the seats on the side or this tent or the hammocks under the trees in back, and so on. People go, have a smoke, catch their breath, rest before the next thing. I am sitting in a chair, as opposed to a bench or on the ground. This itself feels like a novelty, and backstage has its own amenities, including bathrooms and places to fill your water bottle.
There are three more bands on the bill today than yesterday and the last of them is Pelican, which I hope will feel like a wonderful moment of arrival after the long stretch. But we’re in it now with doors open and the hangover soon to give way to new drunkenness. Folks went hard last night, and it wasn’t just Mr. Roomtwentynine. I’ll be interested to see how it goes once the music starts, which it will soon enough.
Notes on the day, taken as it happened:
DVNE
What a way to start the day. The largely uptempo UK post-metal outfit probably aren’t used to playing in sunshine, but all the better to see them obliterate. I’ve been lucky enough to catch DVNE live before, at Psycho Las Vegas a few years back (everything was a few years back), but the Etemen Ænka (review here) record that they put out between them and now brought them to a new level. They sound like a band who put work and conscious thought into the atmospheres they create — progressive in that way — and their clear desire to not do the same thing all the time, to distinguish themselves even among the crowded sphere of post-metal is something to deeply respect, all the more because they do it. And just when they seem to get all caught up in a mire of tense, complicated prog-metal noodling, that’s when they turn around and bash you over the head with a riff and if you can’t get down with that, why even have ears? Their sound goes as deep as you’re willing to follow it and on stage they back that cerebralness with due passion-derived force. Or, if you prefer the short version, this is a cool fucking band. I was surprised it wasn’t being filmed, but I guess one can’t have everything.
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Supersonic Blues
Hey, guess what? Been a few years since I last saw Netherlands classic rockers Supersonic Blues. Shocking, right? Well, earlier this year they put out their awaited debut album, It’s Heavy (review here) on Who Can You Trust? Records, and man, that record is a burner. A boogie burner, even better. Seeing and hearing them play songs from it put them high on my list of anticipated bands for Freak Valley 2022, but that they played as a two-guitar four-piece and seemed to take a special jammy pleasure in doing so made them even more enjoyable to watch. You wouldn’t call them innovative — and that’s not intended as a slight, they’re actively trying not to reinvent the wheel — but their songs and vibes are tremendous fun. One of those bands who are mellow no matter how heavy they get, and who seem to find a sweet spot between ’70s grooves and a kind of laid back melodicism. There’s a part of me that hopes they never add a keyboardist and go prog — which is what a goodly portion of the bands who influenced Supersonic Blues ended up doing — but time will tell of their ultimate direction. Right now, and for the last five or so years, they’re a blast. A party that’s been waiting for you to show up. They brought their own drums.
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Kosmodome
My first time seeing Kosmodone, whose name I’ve seen around a lot. I’ve played them on the Gimme Metal show before, but not really written about them, but they remind a bit of Hypnos 69’s warm prog, their stage arrangement such that the drummer/vocalist is off to the side rather than behind the guitars and bass, which is kind of where the keys are. They’re young, which means they can play prog without needing to stand still on stage and maybe have some Motorpsycho influence, and it’s hard to be really immersive when it’s broad daylight and still heating up, but whatever, it’s a good time. In the hills around there are hawks circling the woods, or maybe that’s the campsite, I don’t know. Either way, Kosmodome released their self-titled album last December and dedicated “The 1%” from it to all the children in the crowd, and yes, there are plenty of them and a few more clearly impending. I can’t imagine my family, my wife and son, would enjoy this — he might for a while but then would be trying to get on stage, she simply wouldn’t — but it would be an interesting experiment. Kosmodome came here from Bergen, Norway, and it occurs to me I have no clue how far away that is. Hard to get your bearings at a thing like this. But I know today’s Thursday, because that’s when Kosmodome played. They closed with “Orbit,” which also finishes the record, and I might have to buy this album now.
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Les Big Byrd
Hell yes Swedish space rock. This was my first experience with Les Big Byrd — and they pronounced it “less” on stage rather than the French “lay” Big Byrd — but however you want to say it they brought trance groove to the hottest part of the day, riding motorik groove and a balance between songwriting and jamming with similar ease. As I’d never heard them, their synth-laced sound hit a laid back feel just right, and they also had a side-of-stage drummer, like Kosmodome, except on the other side, and he did backing vocals. They said they’ll have a new record out this Fall, and if I had any idea what month it is, I might know how far away that is from now, but at least I’ll know to keep an eye out for it. I’d dozed in the shade prior to their going on, my new hippie hat over my face, and they made easing back to full consciousness smoother than, say, Mondo Generator probably would. I chased down some coffee later in the set in the interest of remaining upright for the second half of the day’s lineup and they were done by the time I got back, but I’d watched a bit out front on the grass, people dancing on either side of me to the fluid sounds. I’ll take it.
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Mondo Generator
Would you fuck with Mondo Generator? I wouldn’t. Seems like a good way to get punched. They’re like punk rock aggro taken to its natural extreme; a legacy of dirty, fucked up, angry — and in their case, heavy — rock and roll that is dangerous and in pursuit of danger as the end. Nick Oliveri doubles in Stöner with Brant Bjork these days, but it’s been nearly a decade since last time I saw Mondo Generator (review here) and they were a four-piece then, but they worked well as a trio. The rawer the better. Mike Pygmie I saw a few weeks ago playing with John Garcia at Desertfest New York (review here), but it’s been years since I watched the malleable Mike Amster bash away at a drum kit, and that was a pleasure as well. I don’t think I’ll ever be intense enough for Mondo Generator, but I’m honestly not sure anyone is. All the more reason to put Kyuss and Queens of the Stone Age songs in the set: no one’s gonna argue with “Green Machine” and “Thirteenth Floor,” or at very least no one here. Even when they slow down though, they’re mean, and after they closed with “Tension Head” into “Allen’s Wrench” and “Millionaire,” just to make sure everybody goes home happy after getting their ass kicked., the crowd called for one more and apparently they had time, so they threw in Queens of the Stone Age’s “Six Shooter” with Oliveri putting down the bass and just singing. That was a fun 90 seconds for sure.
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The Atomic Bitchwax
Yay! If we’re being completely honest with each other, that’s about the extent of my depth of insight watching The Atomic Bitchwax right now. I’ll never claim to be impartial about this band, however many times I may be so fortunate as to see them or write about them, but they’re just one of the tightest heavy rock acts you’ll ever see. A couple weeks ago they absolutely flattened me at Saint Vitus Bar in Brooklyn (review here) and it was nothing but a joy. Similar set here, the lines about songs about Kung Fu and shouting out “Kiss the Sun” to the ladies, etc., but they tore into it and were a blowout and a blast and probably six or seven other adjectives that collectively round down to “quite exciting, indeed,” while also exuding glee at doing so, Bob Pantella, Garrett Sweeney and Chris Kosnik (who I’m starting to think of writing in for the upcoming US midterm congressional election) simply working at another level from just about everybody and giving Mondo Generator a run for their money without the same kind of aggression behind it. What a tour that would be. ‘Too Fast for Your Brain 2022.’ I know things are about to take a mellower turn, but these guys were the kick in the ass I needed heading into the rest of the night. A heartfelt fucking a, The Atomic Bitchwax. Thanks for the boost. And for “So Come On.” And that slowdown and speed up in “Shitkicker.” And the Deep Purple. Right on.
—
Toundra
After 9PM just now and still very light out. I guess that’s why I was disoriented last night, because night happened at a different time. Also the no sleep. I’ll admit to being relieved watching Toundra. I was expecting a big post-Bitchwax comedown, but that’s not at all what Spanish instrumentalists Toundra delivered. I’ve heard them before, written about them before, but as dug-in as their style is in that vaguely-My-Sleeping-Karma-ish progressive-meditative-sans-vocal heavy, they were jumping around on stage while they played it. It can be done! And even the dreamier stretches were given a push that was a perfect accompaniment to the richness of their tones and the lead guitar lines floating overhead. For a crowd who’ve largely spent already the last seven-plus hours drinking, or just for me who could use another coffee (perpetually), they were outright engaging to the crowd — very definitely a show — without giving up their progressive aspects. That’s not an easy thing to pull off, and they were treated with due respect by the crowd, I’m sure some of whom saw them here when they played in 2016. As I didn’t, I’m glad I’m seeing them now. If that makes me late to the party or whatever, fine. Story of my life. And yes, they had their “Stones From the Sky” moment. Someone in the back behind the lawn, by the merch and food, was burning incense. Balloons were being batted around until meeting their inevitable end. Kids sat on parents’ shoulders. Freak Valley could give classes in how to define heavy peace. Subsection on the syllabus for this set right now. How lucky I am to be here.
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Endless Boogie
The app I use to order pizza just sent me a “hey you should order a pizza notification.” It’s like somehow it knew Endless Boogie were playing. It’s usually right anyway, and the theory applies here if not the logistics. Paul Major, center stage, guitar in hand, occasionally grumping into the microphone while grooving out — this is kind of a band you need to see live to understand. And they’re from New York. And I live in New Jersey. And I’ve seen them once before this. And it was in Europe. If you have a “go figure” file, that can go right in there. They’re hitting it though. As mellow as their records can be, and as only-on-their-own-clock as they come across, their material isn’t staid or unipolar. It’s a classic kind of dynamic and nothing fancy on paper, but if you want dig a band Endless Boogie are a band to dig, and that’s a compliment. What they’re doing on paper couldn’t be simpler — starting out and seeing where it goes — but what distinguishes them is their personality as players — and that’s not just Major either — and the conversing they do as they ooze through one movement to the next, one jam to the next. I’ll spare you wax poetics in the spirit of Manhattan concrete, but whatever they might have in common with whoever, they are their own thing. Once again, people are dancing, even bigger bubbles are being blown, and meanwhile the band is on stage ripping it up. They dedicated the entire last half-hour of their set to one song, a flowing jam with repeated cycles about smoking in the house that also magically became space rock. There really is nothing like a band who keep their word.
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Pelican
I’m going to try to assemble a few coherent thoughts, but I can’t promise anything as regards making sense. What I didn’t realize throughout today was just how much it was building toward Pelican, and just how much the veteran Chicago instrumental four-piece were positioned as a culmination. They were the point of convergence. I’m not going to list the tie to each act, because why would I?, but as well as setting the course for an innumerable amount of acts in terms of their influence, they also kick a good deal of ass. That is to say, they’re a headliner on paper as well as in reality. I lost my left earplug right before they went on — I’d left my bag on the other side of the photo pit, and getting there was a journey; just trust me — but even with two full festival days left, I’m less distraught at the ringing in my ear with them as the cause than I might be other under circumstances. It got chilly after the sun went down, but I found a spot in back to watch them for just a bit before moving elsewhere and the swirling lights, the presence of the band on stage, the volume even after I replaced that earplug — staggering. I don’t even know how many times I’ve used the word “beautiful” in the last two days at Freak Valley, and this probably won’t be the last one either, but that’s really what it was. The end of a long day, people slouching with fatigue, booze, whatever. And then Pelican comes on and it’s this massive waveform of positive energy. A celebration, maybe. I don’t know, but it felt like resonant joy pushed through all that crunching tonality, all that hugeness of nod. Heart. In a universe where authenticity is a myth, Pelican communicate something essential — not quite primal, but not far off — for those ready to accept the invitation to hear it. That’s all. No big deal.
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06.17.22 – Fri. – 10:54AM – Hotel
Liebe freunden — as the fellow says; it’s a kind of catchphrase for the fest and an appropriate, organic one — it occurred to me last night that I hadn’t had a meal since before I flew out on Tuesday, and that that last meal was composed entirely of Swiss cheese. So yes, breakfast. Some peppery eggs, assorted slices of cheese, coffee. The Karma to Burn of meals. Keep it simple as much as possible. Hydrate. I drank about half a liter of water per band yesterday. Take Advil. Sit down. Breathe to the extent that whatever allergy it is allows. Exist.
I’ve said a fair amount about the music so far, but the atmosphere here shouldn’t be neglected either. The spirit of the place, the green trees, green grass, yes. But also the kindness of the people. I was in the photo pit last night and someone up front in the crowd tapped me on the shoulder and said he probably wouldn’t be there if not for this site. I met a married couple (who’d gotten engaged at the festival in 2017) who were lovely and whose names I remember but won’t say, because, you know.
It’s not for me to be taking pictures of the crowd, of people who aren’t performing, who are there to hang out and enjoy themselves. It seems intrusive. But understand that, being here, the kindness of everybody I’ve met has been as essential as the music, as the setting. The people, the place, the thing. It is all the nouns, spiritually restorative.
Today I will pack a hoodie for the nighttime. Forgive me for being out of practice. I was burning yesterday afternoon and ended up buying a hat as well, so yes, you learn and relearn as you go. But strangers, friends, and strangers who become friends help along the way. Maybe not with showering — that I’ll do on my own — but the rest of it. As loud and raucous and go-go-go as it can be, it’s serene too. An existential butterfly landing on your nose. Just for a moment, I know. Two more days.
Posted in Whathaveyou on March 23rd, 2022 by JJ Koczan
The upshot here is that Supersonic Blues — who just released their debut album, It’s Heavy (review here), in January — have restructured the band. In doing so, they move former bassist Gianni Tjon-Tam-Pau to guitar and backing vocals, and bring Bob Zurcher in as a replacement on low end. With this lineup — completed by drummer Lennart Jansen and guitarist/vocalist Timothy Aarbodem — the now-four-piece will take stages this Spring at various festivals including Roadburn, Freak Valley and Sonic Whip. One imagines there’s more to come there as well as the rest of 2022 plays out.
It was a number of years waiting for It’s Heavy since it was recorded in 2019, so the question was just how much the album represented where Supersonic Blues were at to start with, despite one way or the other being a righteous execution of retroism on its own merits. This news means the answer is perhaps less, since invariably a band so focused on presenting themselves in on-stage fashion in their studio work will find that dynamic changed with new personnel involved. Ultimately though, Supersonic Blues went into that record with a strong idea of what they were going for, and I suspect they’ll continue to work along those lines, however long a follow-up might take and whoever will be involved in its making. This is a band with a mission, and I’m posting this news as much to point you to the album stream at the bottom of this post as I am to keep up with their doings more generally.
So yes, if you see this and you haven’t listened to the album, go ahead and do that.
From social media:
SUPERSONIC BLUES- ANNOUNCEMENT!
As some of you may know, we founded Supersonic Blues back in 2014 already. It took us some line-ups, but as of early 2016 it was steady to the point where we are now. In October last year, our now former bassist Gianni expressed that he wasn’t happy anymore playing the bass, being a guitar player originally. It took us some days to process this news, but realising we can’t change his feelings and we don’t want to put ambition before our friendship and brotherhood, the idea of continuing as a four-piece felt like a natural progression.
Luckily we found our old friend and ex-roomie to fit the role perfectly. We have been rehearsing for a couple of months now and we have to say it is working out nicely! So please give a very warm welcome to our new bass player: Bob Zurcher (Twin Shades, The Womb)! And of course, we’re introducing Gianni on 2nd guitar as well. On to new adventures… Looking forward seeing you all this season at Roadburn Festival, Sonic Whip, FREAK VALLEY FESTIVAL, a.o. Until then, take care.
Photo by Lina Selg
Supersonic Blues is: Timothy Aarbodem – Guitars, vocals Gianni Tjon-Tam-Pau- Guitars, backing vocals Lennart Jansen – Drums Bob Zurcher – Bass
Posted in Whathaveyou on February 24th, 2022 by JJ Koczan
Thinking about filling out a press accreditation form for Roadburn 2022. That’d be fun. To go after all after thinking this whole time it would happen without me. It’s a daydream, but hell, Roadburn was a daydream in 2008 and I wound up going every year between 2009-2019, so here’s to daydreaming.
Radar Men From the Moon have a new lineup, and are playing multiple sets in various incarnations. That’s cool but check out Gott with Farida Lemouchi out front. I didn’t even know that was a thing. Humbling to be out of the loop. I’m glad to see Supersonic Blues making a return appearance — their third — celebrating their debut album though, and since The Ballet Bombs were slated to debut at the fest in 2020, having them there now only makes sense.
Looks like a good fest. I wouldn’t mind covering.
Roadburn announces festival pre-party plus new names for main festival
Roadburn has today confirmed a new group of names for the 2022 edition of the festival – including three performances for the regular Wednesday night pre-party, and a new edition to Milena Eva and Thomas Sciarone’s curated event.
Roadburn’s artistic director, Walter Hoeijmakers comments:
“Following the success of Roadburn Redux we’re very proud to have a number of special sets and collaborations from Dutch artists at Roadburn this year – further emphasising Roadburn 2022’s artistic scope. With Europe opening up even further, things are looking really good for Roadburn this year, and we’re so looking forward to welcoming everyone to Tilburg in two months from now. Before then, we still have several more announcements up our sleeve, so stay tuned!|
DEAD NEANDERTHALS will make a triumphant return to Roadburn as they team up with SOLAR TEMPLE for a special collaborative project titled Embers Beget The Divine. Dead Neanderthals will be a familiar name for Roadburners: they’ve spent the past decade-plus putting together an eclectic and envious back catalogue that spans multiple genres – from free-jazz to grindcore by way of psychedelia – and continuously defies expectations. No strangers to collaborations, they have now teamed up with Solar Temple – a more stage-shy ensemble but no less of an enticing prospect.
RADAR MEN FROM THE MOON will perform three times – once at the pre-party (more of which in a moment), once under, once with an electronic set, and once with a specially commissioned collaborative set that will see them team up with TWIN SISTER (Dead Neanderthals, Sex Swing), titled Mirrors For Discharge.
MANDY, INDIANA are the latest addition to Milena Eva and Thomas Sciarone’s curated event. Their fusion of hypnotic beats and discordant noise come together to create something that’s both fascinating and immersive.
With the unmistakable vocals of Farida Lemouchi at the helm, GOTT have also been added to the line up. Also featuring members of Soulburn, Severe Torture, Ggu:ll, Dodecahedron and Radar Men From The Moon, Gott are a veritable who’s who of the Dutch music scene. Elsewhere we’ve added SUPERSONIC BLUES to bring some 70’s rock vibes to Roadburn, and THE BALLET BOMBS who will be making their long overdue Roadburn debut as well as releasing their brand new live record titled Mutations at the festival.
The aforementioned pre-show party, now happening under the name The Spark, will serve as a welcome party for Roadburners old and new and will take place on Wednesday, 20 April. Joining Radar Men From The Moon will be Berlin’s MAGGOT HEART bringing their raucous take on noise rock ‘n’ roll to Tilburg, and BAD BREEDING who will be letting off steam with their blistering anarcho-punk-hardcore.
These artists will join the already announced Roadburn 2022 line up that includes Ulver, Lingua Ignota, 40 Watt Sun, Emma Ruth Rundle, Liturgy, SLIFT, Full of Hell, Die Wilde Jagd, Cloud Rat and many more. Read more about them here:
BAD BREEDING DEAD NEANDERTHALS X SOLAR TEMPLE GOTT MAGGOT HEART MANDY, INDIANA RADAR MEN FROM THE MOON SUPERSONIC BLUES THE BALLET BOMBS
Uniform and Pinkish Black will no longer perform at Roadburn 2022 due to their European tour being cancelled.
Weekend tickets, and Thursday, Friday and Saturday day tickets are sold out. Only Sunday day tickets remain in limited numbers. Tickets and accommodation options are available to view viaticketmaster.nl
Posted in Whathaveyou on January 26th, 2022 by JJ Koczan
Europe’s Spring festival season would seem to be on the rebound this year, and a delayed Sonic Whip fest in Nijmegen, the Netherlands, is set for May 6 and 7 as a part of that process. With poster art by the esteemed Maarten Donders, the festival has announced that Elder, Elephant Tree, Kal-El, Kryptograf, Hey Colossus and Supersonic Blues are going to play, which is some pretty killer adds alongside the already confirmed likes of Motorpsycho, Earthless, Slomosa, and so on.
Among the things to dig about the bill’s international reach is the presence of more Norwegian acts than one might’ve seen even just a couple years ago. Motorpsycho‘s place among headliners is, of course, well earned, but you can see too in Kryptograf and Slomosa an up and coming generation of rockers, and in Kal-El the kind of act they might want to grow up to be. It’s cool to see Norway’s underground become immersed in the broader sphere of European heavy. They’ll do well here alongside other groups from the Netherlands, Denmark, Sweden, Germany, the US, UK and so on.
There are apparently more announcements to come. Fine, but if Sonic Whip was like, “Nah this is it,” it’d still be good fest.
Here’s the info:
NEW ADDITIONS SONIC WHIP 2022
We are pretty stoked to announce that Elder, Elephant Tree, Hey Colossus, Kal-El, Kryptograf and Supersonic Blues will be part of Sonic Whip 2022 – Official!
Already confirmed for 6 & 7 May are Motorpsycho, Earthless, Stöner, Rotor, SACRI MONTI, MaidaVale, Mythic Sunship, a/lpaca, POLYMOON, Slomosa and KALEIDOBOLT. This is going to be wild! And that is not all, there is still more to follow…
Saturday daytickets are sold out, only Friday and a few weekend tickets remaining. Tickets are available here:https://bit.ly/SonicWhip-2022
The beautiful artwork created by the talented Maarten Donders.
Friday 6 May 2022 Elder, Sacri Monti, Mythic Sunship, Kal-El, Kryptograf, Kaleidobolt, Supersonic Blues and more to be confirmed.
Saturday 7 May 2022 Motorpsycho, Earthless, Stöner, Elephant Tree, Rotor, Hey Colossus, Maidavale, Slomosa, Polymoon, A/lpaca and more to be confirmed.
Posted in Whathaveyou on January 21st, 2022 by JJ Koczan
I’m not asking for much here, just let me go. I just want to go. It’s only a few days, and it’ll be June so whatever wave of whatever variant we’ll be in of this endless fucking pandemic shouldn’t be too terrible. But come on. Pelican and Supersonic Blues and Slomatics and Temple Fang and Elder and Geezer and IAH and Fu Manchu and The Midnight Ghost Train and Green Lung and Revvnant and Monster Magnet headlining and, and did I mention Slomatics yet because increasingly it’s starting to feel like Freak Valley Festival 2022 is being put together as a favor to me and it seems like the very least I can do is go. I just want to go.
That’s all I’ve got. I wrote this announcement for the fest. It’s a good batch of bands and that’s about the depth of insight I have on the matter just now:
Happy New Year, Freaks!
We know things are crazy right now just about everywhere, but we’re still doing our best to bring you the biggest celebration of Freak Valley Festival ever. How could we do otherwise?
Today’s announcement is huge and includes another headliner! Let’s welcome RED FANG to Freak Valley!
This will be the first time in Siegen for America’s overlords of Pacific Northwest rock and roll, and they come supporting their new album ‘Arrows,’ which reminds that nobody out there throws a party quite like they do. Their shows are the stuff of legend, the record rules, and the time is right. We can’t wait to see what they bring to our stage!
BLACK MOUNTAIN will also play on the Wednesday of the festival. If you’ve bought three-day tickets, we’re making more tickets available for the Wednesday show, so don’t miss out! It will sell out again!
Progressive heavy rock mainstays ELDER will also return, along with Chicago’s instrumental innovators PELICAN and even more!
Behold!
NEW ADDITIONS TO FREAK VALLEY 2022: Red Fang (headliner) Black Mountain (playing Wednesday) Pelican Elder Reignwolf Mondo Generator Daily Thompson Leech Green Lung Temple Fang Swedish Death Candy IAH The Re-Stoned Les Big Byrd Slomatics Supersonic Blues Revvnant
Still more announcements to come!
Freak Valley Festival // No Fillers – Just Killers
Netherlands-based vintage heavy rockers Supersonic Blues release their debut album, It’s Heavy, on Jan. 10 through Who Can You Trust? Records. And while one would not accuse the awaited eight-tracker of being inaccurately titled, the heaviness is really just scratching the surface of what they have on offer as a band. From the first blowout fuzz of lead cut “High as a Kite,” the Den Haag three-piece of guitarist/vocalist Timothy Aarbodem, bassist Gianni Pau and drummer Lennart Jansen throw down a retro-ist gauntlet that few acts outside of some lost ’70s private press archive could ever hope to match. With close compatriot Laurens ten Berge at the helm and Guy Tavares (The Mercury Boys, ex-Orange Sunshine) bringing Motorwolf tutelage and flair to the master, Supersonic Blues turn raw edge into aesthetic purpose and whatever format one might hear it on, their overmodulated-sounding grit is a dead-on accompaniment for their songwriting.
To wit, “High as a Kite” itself with its bareknuckle hook, or the fuzz-funk of “They See Me Comin'” and the sub-motorik biker chug of the title-track, which is also the longest inclusion at just over seven minutes. So much of what Supersonic Blues do is about the vibe and from the way “They See Me Comin'” roughs up its solo section in its second half to the quick, tape-running-out fade at the end of “It’s Heavy,” there’s live energy across the record that “Crawlin’ Back” and the winding “Got No Time for Trouble” answer on side B. It’s not Pentagram worship, and it’s not Graveyard or Kadavar worship. While one could hardly say Supersonic Blues are the first band to try to harness a sound directly reminiscent of the era of heavy rock’s birth, I’ve heard few do it with such a level of buy-in or accomplishment, and even more than the band’s 2017 debut 7″ Supersonic Blues Theme b/w Curses on My Soul (review here), It’s Heavyfinds individual expression in the familiar backdrop of microgenre.
They cover “Phantom Child” from New Mexican heavy rockers Lincoln St. Exit‘s sole LP, 1970’s Drive It!, and include a bonus take on 13th Floor Elevators‘ “Reverberation,” both of which feel right at home alongside “Got No Time for Trouble” or the two-minute strut of “No Good for Conversation” that presumably leads off side B of the vinyl. In the tones of Aarbodem and Pau and the far-back stomp of Jansen‘s drums, Supersonic Blues‘ originals are obviously well schooled in the spirit they’re attempting to capture — and, I’d argue, capturing — but to listen to “It’s Heavy” or “They See Me Comin'” or “Crawlin’ Back,” the impression they make isn’t just about production value. It’s Heavy is bolstered by its recording on stylistic terms, of course, but “It’s Heavy” is an ace jam, and “They See Me Comin'” is memorable from its first bounce onward. Same goes for the heavy blues of “Got No Time for Trouble” and “High as a Kite.” You may in fact be transported through time, but it’s hard to know if you’re going back or forward by the time they finish with “Reverberation.”
It’sHeavywas finished in late 2019. It’s been waiting for release ever since. I’ll tell you straight out, I’ve had the record since early 2020, and I’ve yet to put it on and regret it. I’m not sure what more I can than that, other than that if Supersonic Blues wanted to go ahead and make a follow-up on a shorter turnaround, that’d be just fine too.
Enjoy “It’s Heavy” on the player below, followed by some comment from Aarbodem, links, etc.
Dig:
Timothy Aarbodem on “It’s Heavy”:
I think Guy suggested it as the album title, since it’s bold, maybe a bit tongue in cheek and sorta self-explanatory. Almost like a slogan, “Hey, how does the album sound? It’s Heavy, man!” We like the visual aspect of it.
We rehearse in this small warehouse kinda place, next to a skatepark. By that time, it was really still a ‘room’ inside the warehouse, and our buddies placed their studio gear in there. Now they (The Womb Studio — Tijmen, Laurens and Domenico) built a proper studio in there together with Gianni (SB bass player). they managed to get some funding for it. It’s a privilege to rehearse there as well, but back then when we recorded it, it was still nice and ‘primal’ — all analog studio gear.
When recorded, we went to Guy Tavares for his take on it. His style is wild, but we love it. We finished it late 2019, early December I think, but yeah, then shit hit the fan in 2020, so we were not really in a rush to release it. But we’re happy how it turned out, record cover came out beautifully. It’s still ‘standing’ as an album, to our perception. Even if it has been a while hehe. Quite some positive stuff happening now at the SB-camp, more on that later.
Posted in Whathaveyou on December 9th, 2021 by JJ Koczan
Been waiting a while on this one. Like two years. And now that the moment’s here, I’m not sure what to say about Supersonic Blues‘ debut album, It’s Heavy, other than the fact that it’s out Jan. 10 and up for preorder now. I guess that’s an okay start.
I’ve been fortunate enough to see the Den Haag trio twice at Roadburn Festival in the Netherlands — first in 2018 (review here) and then again in 2019 (review here) — and the album brings out the most vintage-sounding sides of what they do. The fuzz-overload on “They See Me Comin'” alone sounds like a blown-out gauntlet being thrown down to anyone who’d groove ’70s style in its presence, and the scorch of the Lincoln Street Exit cover “Phantom Child” comes across like an aged tape unearthed from decades-past obscurity. Supersonic Blues are admirably set in their mission and the head space they put you in while listening to It’s Heavy is a standout even among acts of a nostalgic frame of mind.
Note the linkage here to the Hague’s Motorwolf scene here and mastering by Guy Tavares — late of Orange Sunshine, currently in Mercury Boys with Supersonic Blues‘ own Timothy Aarbodem — as you can for sure hear that link in the band’s output, if in next-generation fashion.
I want to go on about it, but I’ve got a review/premiere planned for next week (yeah, even aside from the Quarterly Review), so sit tight for that.
Meantime:
SUPERSONIC BLUES – It’s Heavy LP
** OUT JANUARY 10TH 2022 on Who Can You Trust? Records **
Three buddies laying down that heavy, fuzzed-out, psyched-up, blues-based rock n’ soul. No strangers to The Hague’s gritty underground scene, Supersonic Blues have an unhealthy obsession with diggin’ out that one obscure 60s/70s rarity. Still, these guys sure enjoy a 21st-century dystopian boogie! For fans of Taste, Grand Funk, Sabbath and the Hendrix Experience.
“It’s Heavy” was completed over the course of 2019 and delivers 7 solid tunes, heavily road-tested in their home country and abroad including 2018’s Roadburn Festival to which the band was invited to play not one but two shows! Recorded by Laurens ten Berge at The Womb Studio and mastered at Motorwolf by Guy Tavares. Artwork by Ruud Aarbodem and Maarten Donders.
Released in an edition of 300 copies on black vinyl. The first 50 copies include a handnumbered print with art by Maarten Donders.
